S e p t e m b e r 2 6 , 2 0 1 4 — J a n u a r y 4 , 2 0 1 5
F R E S N O A R T M U S E U M C O U N C I L O F 1 0 0 | 2 0 1 4 D I S T I N G U I S H E D W O M A N A R T I S T
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MILDRED HOWARD, 2013Magnolia Editions, Oakland, CA
Photographed by Don Farnsworth
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MILDRED HOWARD, 2013Magnolia Editions, Oakland, CA
Photographed by Don Farnsworth
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4
F R E S N O A R T M U S E U M C O U N C I L O F 1 0 0
2 0 1 4 D I S T I N G U I S H E D W O M A N A R T I S T
Curated by L izzetta LeFal le - Col l ins
Fresno Ar t Museum | Fresno, Cal i fornia
September 26, 2014 — Januar y 4 , 2015
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PARENTHETICALLY SPEAKING, IT’S ONLY A FIGURE OF SPEECH, III, 2011/2014 [Fig. 1]
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6 Fresno Art Museum: Council of 100
11 Foreword, Amalia Mesa-Bains
contents
23 Afterword, Eddie Chambers
13 Mildred Howard: Collective Memory, Lizzetta LeFalle-Collins, Ph.D.
24 Artist’s Statement
27 Plates
50 Catalogue of the Exhibition
55 Curator’s Acknowledgements
52 Mildred Howard Bio
7
Council of 100 Acknowledgements The Council 100 Distinguished Woman Artist Exhibition, now in its twenty-eighth year, continues
because of the commitment of the Fresno Art Museum Board of Trustees and Staff, who are
competent and dedicated to providing flexible and practical support, and keeping exhibition
standards high. We acknowledge Kristina Hornback, Associate Curator, with heartfelt thanks for her
devotion to this year’s exhibition.
This 2014 Distinguished Woman Artist catalog, which was funded by the Fresno Art Museum along
with the Council of 100, is the first edition of a digital catalog. I would like to acknowledge graphic
designer, Kristi Carlson, for her professionalism and excellence in creating a digital catalog worthy
of this award.
As Fresno Art Museum Council 100 president, I want to express my gratitude to the Executive Board
of the Council 100 for their skilled and persistent efforts and to the loyal membership, both new
and longstanding, for their tenacious perseverance in honoring women’s contributions in the visual
arts. They are the hidden work force behind this annual celebration.
Lastly, but most importantly, I want to acknowledge Mildred Howard our 2014 Distinguished
Woman Artist, for her dedication and commitment to her work, her spirit and her creative ability to
transform her vision into reality.
Truly, it is the efforts of many individuals, over many years, which add significance to this time-
honored tradition.
Pamela Akin
Fresno Art Museum Council 100 President
September 2014
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Fresno Art Museum: Council of 100The Fresno Art Museum was the first museum in the United States to devote a full year of their
exhibition schedule, 1986/87, exclusively for women artists. Fresno was a fitting place to do this,
since, in the early 1970s, Judy Chicago brought attention to women artists when she taught the first
feminist art class in the country at California State University, Fresno.
In order to finance the cost of this year of exhibitions, it was necessary to match a grant for $25,000.
Robert Barrett, Executive Director of the Museum, suggested the means to raise the funds: to
enlist 100 women from the community, each of whom would donate $250 to the Museum for this
project. Weekly meetings were scheduled to inform the invited women about the project and their
involvement with it. The group would be called the Council of 100. Over one hundred women
participated and many of those women continue to support this program today.
The year of exhibitions drew national attention and interest and culminated in a three-day
symposium in May 1987. The symposium brought together an important group of artists,
art scholars, critics and museum directors from across the country. This national interest and
recognition of the Fresno Art Museum and its program for women artists continues today through
the efforts of the Council of 100.
The energy created by that year of women artists’ exhibitions, as well as the symposium, was
so stimulating for the Fresno Art Museum audience that the Council of 100, headed by Virginia
Farquhar, decided to keep its role alive at the Museum by expanding its mission to include the
following objectives: to select an outstanding woman artist annually and present an exhibition of
her work at the Fresno Art Museum, publishing a catalog/brochure documenting that exhibition,
and to set up a series of lectures throughout the year featuring outstanding women artists from the
Fresno region and beyond.
The program was initiated in the spring of 1988, and has since honored the following internationally
recognized artists with the annual Distinguished Woman Artist Award and Exhibition:
The caliber of the these honorees has elevated the status of the Council of 100’s Distinguished
Woman Artist Award and has brought the Fresno Art Museum well-deserved national recognition
from many organizations including the National Women’s Museum in Washington, D. C.
1988 | June Wayne1989 | Helen Lundeberg1990 | Ruth Weisberg1991 | Viola Frey1992 | Ynez Johnston1993 | Betye Saar1994 | Rachel Rosenthal1995 | Ruth Bernhard1996 | Bella Feldman
1997 | Claire Falkenstein1998 | Jo Hanson1999 | Inez Storer2000 | Angie Bray2001 | Ruth Asawa2002 | Ruth Rippon2003 | Nancy Genn2004 | Olga Seem2005 | Junko Chodos
2006 | 20th Anniversary: Eighteen Profiles2007 | Gwynn Murril2008 | June Schwarcz2009 | Joan Tanner2010 | Kathryn Jacobi2011 | Amalia Mesa-Bains2012 | Arline Fisch2013 | Ann Page
9
At the End
at the end
of every sentence
a period
occupying space
as molecular energy
a point to make
another point
in space the end is
the beginning
of another end
recurring cycles
occupying space
& death being
only a period at the
end of a sentence
earth
a point
that starts
another point
& at the end
there is a space
to begin again
always space
at the end to
begin again
Quincy Troupe
PARENTHETICALLY SPEAKING, IT’S ONLY A FIGURE OF SPEECH, III, detail, 2011/2014 [Fig. 1]
10
Foreword Mildred Howard’s award-winning work has represented the themes of memory, time, and
place through prints, assemblage, sculpture, and installation for over thirty-five years.
This emphasis on temporality and location has contributed to an alternative chronicle
of community, historical, and family narratives through sites such as the house, church,
cemetery, railroad, and garden. In each of these sites, her use of discarded materials in
massive volume has created a sense of wonder, sorrow, and longing. Howard’s work reveals a
materiality and formality that express both the vernacular and domestic.
From her earliest works, Howard begins with the “architectural remainders” as she calls them.
Using discarded windows through which her transparent memories are shown, Howard
creates a lens into the historic past. The faded images of family mementos of loss and memory
begin to establish her structures as she moves from a private reverie to a public declaration.
Moving to the storefront church and its call and response, the artist creates the sense of
congregation. As her structures gain scale they rely on the multiplicity of objects. Bullets,
ceramic eggs, metal taps, brass hands, silver utensils, globes, even railroad ties multiply in
her installations. Over and over again, Howard assembles the massive accrual of material and
metaphor. The artist establishes the common spaces of community in shacks, bottle houses,
slave homes, shotgun houses, and storefronts, even railroad buildings. Through the strategies
of her choice of images, references, and locations, Howard can be said to sight/cite/site the
histories of Black struggle. In her sophisticated use of material volume, accumulation, and
serialization, she symbolizes the vast numbers of African Americans lost in the violence of
segregation, wars, poverty, and resistance in this country. In a sense, the artist is building the
historical and spiritual foundation for architecture of memory, struggle, and resilience.
Through the transformation of quotidian objects, Howard has captured both the public and
the personal narrative. Voicing little known histories of Black communities, she has developed
a powerful presence in public art. Howard moves us across the memory of Black life in all its
vicissitudes. As an internationally known artist, she has developed a global perspective that
traces the African heritage and diaspora in the New World. Her ongoing interests in language
and music have been a part of this global and public record.
Howard has not been content to reveal only the historical past, but in a Janus-like strategy,
she has linked the past to the present. The imagery of the archival Civil Rights Era and current
hip-hop musical figures are brought together through the technique of chine-collé that
builds layers of history. These prints give us a sense of afterimage that presents a “voicing”
of the songs of freedom and fury. These images move us forward with contemporary
commentary anchored in the struggles of the generations. In this way, Howard stays true to
her commitments to community and language from her largest installations to her delicate
pentimenti of graphic redemption. This exhibition brings together a vision of her poignant
and powerful work and helps us to see the meaning of art dedicated to poetic justice.
Amalia Mesa-Bains
Co-Director of the Department of Visual and Public Art, California State University, Monterey Bay
11
A SALUTE TO SOJOURNER, 2001 [Fig. 2]
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Mildred Howard: Collective Memory Composed of thirty-three mixed media works, Mildred Howard: Collective Memory presents
portrait-like assemblages that serve as selective snapshots elevating the lives of women and
providing historical perspective to their struggles. Through these mixed media portraits and
other works made with repurposed materials, Mildred Howard deftly bears witness and brings
to life a variety of narratives in Black folk culture born in the southern United States. Howard
assembles objects into dramatic mixed media sculptural forms layered with harmonies
and multiple meanings that often reference prose and poetry or suggest metaphors. For
example, in an early work titled A Salute to Sojourner (2001) [Fig. 2], a pedestal sink supports
an open book, a first edition of Uncle Tom’s Cabin by Harriet Beecher Stowe. Uncle Tom chose
to remain enslaved, but many slaves resisted, enduring alligator-filled rivers and creeks on
their treacherous journeys to freedom. A toddler’s little black foot, pierced by alligator teeth,
poignantly highlights the dangers that whole families faced to win their freedom. Howard
explained to me that A Salute to Sojourner was produced after experiencing the alligator-
infested swamps surrounding the Indigo Plantation in Charleston, South Carolina. The work,
she says,
draws an invisible line through history, tracing a parallel between two
abolitionist figures: the extraordinary courage of Sojourner Truth’s fight for
women’s equality and suffrage [...] and the bravery of Harriet Tubman, who risked
her life to help enslaved families escape from places like Indigo Plantation some
thirty years later. Although separated by history and geography, these women
actually had similar backgrounds, and both strove fearlessly for freedom and
empowerment in an extremely hostile climate.
In other works, such as Rev. Willie T (1984) and Faith, Hope, and Charity (1997), Howard
incorporates elements of the belief systems Black Americans employed as a means to offset
the negative impact of racism and struggles for survival.
Many of the works included in this exhibition are influenced by Surrealism, particularly by
Man Ray and Ándre Masson’s use of the female form, and especially their use of mannequins.
Brown Legs (2007) [Fig. 9] features a caged Mrs. Butterworth’s syrup bottle that recalls
Masson’s Mannequin from Surrealist Street (1938). Brown legs extend from the bottom of the
cage, calling question to her race—an ongoing debate. Another Howard work that echoes
Masson’s mannequins with heads encased in birdcages is Caged Bird Song, Scream, Shout I
(2001) [Fig. 11]. This piece was also inspired by Maya Angelou’s poem “I Know Why the Caged
Bird Sings.” Howard gave visual form to the stanzas that described the caged bird’s “narrow
13
cage,” his “bars of rage,” as “he sings of freedom” denied. The viewer sees a Black man’s head
encased in a birdcage supported by four sledgehammers forming a stand that rests on a
stone base. Whatever the circumstance of his imprisonment, the bird is a universal symbol of
freedom, which in this work rests in the palm of a hand that protrudes away from the wall, as if
pondering why this man is not free. In this work and in many others, Howard raises questions
but doesn’t offer answers.
Much of Surrealism deals with absence, loss, or missing parts. Howard’s Switchin’ in the Kitchen
(2013) [Fig. 3] takes its name from a rare release of a 1958 single recording by the same name,
written and sung by Don Covay, also known as Pretty Boy. The record is attached to the wall
with a black forearm and hand extending outward as if moving to the music. In the portrait
Laila Ali (2010) [Fig. 10], fragmented attributes of baby bottles coupled with red boxing gloves
take the place of the female boxer’s absent physical form. In High Heels Turning Heads (2007)
[Fig. 8], acrylic high heels are attached to wooden shoe forms supported by a gritty well-worn
construction worker’s glove cast in bronze. Howard presents these two typically stereotypical
images of gender designations to underscore the flirtatious and sometimes uncomfortable
encounters faced by women as they walk down the street. Taken together, this trio of works
challenges views of women’s identity, empowerment, and power. In Méret (2007) [Fig. 12],
Howard pays homage to Méret Oppenheim, one of Man Ray’s models and one of very few
female sculptors working in the male-dominated Surrealist movement. In this work—inspired
by Oppenheim’s Object (Le Dejeuner en fourrure)/Object (Breakfast in Fur) (1938), featuring a
teacup, saucer, and spoon covered with Chinese gazelle fur—Howard combines a stitched
chessboard made of faux fur with silver salt and pepper shakers for chess pieces.
History of the United States with a Few Missing Parts (2007) [Fig. 4] raises the issue of lost
histories, falsehoods, and exclusions in the larger story of American history. Though her
subject matter is serious, Howard’s thoughtful works can also be humorous at times, as
in Skillet to the Frying Pan: Sitting Black (2001) [Fig. 7], which offers a witty depiction of a
conversation with self—through a small mirror on the bottom of the skillet. The work is at
once reminiscent of the folk idiom “the frying pan calling the kettle black”—an accusation of
hypocrisy—and the West and Central African power reliquary known as a Nkisi, a vessel that
features an embedded mirror to unknown worlds.
The reflective qualities of glass and mirrors are well suited for inviting memoir and
biographical transformation through narrative. As favored mediums, Howard’s multiple glass
houses can be viewed as reliquary objects that invite one to remember. Memory Garden,
I (1989), a small hand-built version of her larger walk-in bottle houses, is based on Black
vernacular shotgun houses. The amber bottle house also explores how refractions of light
change the emotional impact in enclosed spaces. Howard works and reworks the theme of
hand-built house structures, and although the recent houses seem to concentrate more on
their architectural fabrication, compelling and often contradictory cultural issues remain
14
about family, history, and access. Many of the houses constructed since the late 1980s are
collaborations between Howard and architects. A Different Story (2012) [Fig. 13] is modeled
after the modern beam and glass construction homes of builder Joseph Eichler that dot
California communities. Howard was drawn to these houses for their construction, but also
because Eichler made his homes available to Blacks at a time when it was not popular to sell
homes to them in neighborhoods that were considered “white.”
The visual interplay of light is again accentuated in You Are Here, We Are Here, (2010/2014)
[Fig. 15], composed of outdated and altered globes. Individual globes are covered and
repurposed in various ways—On the Rebound [Fig. 18], the globe has become a basketball
resting in a red hoop; Forever Green [Fig. 17] is covered with green AstroTurf; while Dishing It
SWITCHIN’ IN THE KITCHEN, detail, 2013 [Fig. 3]
15
HISTORY OF THE UNITED STATES WITH A FEW MISSING PARTS, VOLUME I AND II, 2007 [Fig. 4]
16
17
PERCHED, 2010 [Fig. 5]
18
Out [Fig. 16] is covered with camouflage, suggesting global “boots on the ground” combats.
In another work, Perched [Fig. 5], Howard uses the Old Crow icon of a favored southern U.S.
distilled sour-mash whiskey shared by both northerners and southerners during the Civil
War. The black crow in suit, top hat, and white spats stands on a red miniature trunk along
with a globe resting on top of a black turned wooden support with a three-prong foot also
painted with white spats. The Old Crow and turned wood support take on similar visual
characteristics: one an abstraction of the other. This 2010 globe series speaks to the illusion
of space, location, and dislocation but also to the impact of how globalization affects and
reshapes our daily lives. Howard has written about why she is attracted to these globes:
[I] used the globe (and to a lesser extent, the frame) as a ready-made
object, which is already invested with meaning and fraught with historical
contradiction. I began to use globes as touchstones for considerations of
globalization, identity, and the multiple “surfaces” of our world. For example, in
the work from which the show’s title was derived, I built a large Rococo-style
frame, big enough to “frame” the viewer standing next to it, and installed a large
mirror ten feet away. Between the mirror and the frame, I positioned a globe
dating back to at least 1910; the divisions (or lack thereof ) in countries depicted
on the globe are fascinating, with archaic designations like French Congo in
Africa and Persia and Arabia in the Middle East. The viewer is confronted with
one’s own reflection as well as that of a miniature and antique representation of
the world, all contained within a large, ornate, and artificial frame.
There is Nothing That Does Not Exist (2010) [Fig. 14] includes three globes on a clear glass table.
The globes reflect through the glass and simultaneously form shadows on the wall behind
them. The work begs the questions “Where am I?” and “Where are we?” Howard shares, “The
viewer becomes aware that while we live on the surface of the same sphere, the ways in which
we construct meaning, divide territories, and assume identities on that sphere are constantly
being remapped and reframed by various shifting powers, conflicts, and points of view.”
In the installation Parenthetically Speaking, It’s Only a Figure of Speech (2011/2014) [Fig. 1],
Howard designed handblown glass editing marks while she was an artist-in-residency at the
Museum of Glass, Tacoma and the Pilchuck Glass School both in Washington state. Oversized
handblown glass editing marks and musical notes represent the passage of time, a recurring
theme in Howard’s work. Based on the poem “At the End” by Quincy Troupe, a frequent poet
collaborator with Howard, the work is also a metaphor for the circular nature of questions—
when one is answered, another arises.
Early in her career, Howard transferred images onto various surfaces, ranging from glass
windowpanes to three-dimensional objects, using mono and digital printmaking. In her
19
most recent series, she contests the printed words in books, printing images over them. An
example is Island People on Blue Mountain (2013) [Figs. 19 & 20] in which she tore maps and
pages from a set of ethnographic books on the people of Africa and the Pacific Islands for
use as printing paper. Using mapped pages from these old volumes, she selects individual
pages and prints images of indigenous inhabitants, thereby placing them in the territories
as individuals and highlighting their personhood, rather than allowing them to remain
anonymous.
As she has always done, Howard continues to strengthen the voice and presence of Black
women in the art canon by inserting herself into her narratives. Her recent works are a series
of prints published at Magnolia Editions in Oakland, California and Sharks Ink in Lyons,
Colorado. In the 2010 series Cartography del Cuerpo, a mixed media digital print series of self-
portraits, Howard scanned her breast on a map surface and fashioned and sealed buttons in a
grid pattern on top of the scanned images, while exposing the maps beneath—accentuating
one of the results of globalization, the rapid dispersal of cultures throughout the world. In
another set of self-portraits, The Other Side of the Coin (2014) [Fig. 6], Howard inserts her own
portrait in place of the image of the “Gold Dust Twins,” Dusty and Goldie, that graced packages
and ads for Fairbank’s Gold Dust Washing Powder products from as early as 1892. She flips the
old image on its head by challenging such racially demeaning images, even turning her back
on the viewer in one print so that all they see is her long dreaded braid.
“It all goes back to my beginning, [...] Changing the meaning to make it
something different,” said Howard when I asked her about her new 2014 chine collé
series on hip-hop artists, Millennials & XYZ [Figs. 22, 23 & 24]. Hip-hop/rap artists are printed
on faded newspapers from the 1940s such as the Los Angeles Tribune (a newspaper for the
upwardly mobile Black community). Newspapers were once a major mode of communication
for Black communities in the United States. In a sense, this series is a conversation between
the newspaper, that mainly addressed the needs of specific communities of Black people, and
contemporary Black hip-hop artists who invented a rhythmic language to musical beats for a
diverse generation that has impacted the world and demanded recognition by disrupting the
status quo.
Howard’s provocative assemblages, installations, and prints function as alluring fragments of
memory. This compelling exhibition offers viewers an irresistible invitation to walk with her
as she gathers, assembles, and reconfigures objects to reveal complicated and layered stories
based on vignettes of her own life experiences inspired by history, poetry, and art.
Lizzetta LeFalle-Collins, Ph.D.
Guest Curator
Lizzetta LeFalle-Collins is a freelance curator, writer, art historian, and
Principal of LeFalle/Collins Projects, a curatorial firm.
20
THE OTHER SIDE OF THE COIN, II, 2014 [Fig. 6]
21
SKILLET TO THE FRYING PAN: SITTING BLACK, 2001 [Fig. 7]
22
Afterword Over the course of a number of decades, Mildred Howard has established herself as an artist
capable of making no end of sophisticated and deeply nuanced interventions. An abiding
attachment to the ways in which we perceive and construct history lies at the core of her
multi-disciplinary practice. Concurrently, her work stimulates us to new understandings of
the contemporary world around us and our place within it. Howard’s preferred method of
approaching her work—whether individual construction, installation, or public art—is to
utilize the found image and the found object as a central component of her practice. In this
regard, her singular art practice has utilized photographs drawn from her family albums
through to all manner of objects reflective of the evolving nature of 20th and 21st century
history, culture, and popular culture. In so doing, she is able to fashion intelligent and critical
comment on that most fiendishly enigmatic, yet unavoidably important state of being that
we refer to as identity.
Mildred Howard mines multiple histories—be they her own, her family’s, her community’s,
or her nation’s—in order to fashion new interventions that cogently reflect on those
histories. Consider, for example, her use of that most everyday of objects, the glass bottle.
Immediately, when considering Howard’s fascinating bottle houses, the most perceptive
amongst her audiences will call to mind references to glass bottles, usually of colored glass,
that were traditionally used in the making of bottle trees, associated with hoodoo and
historically found in the southern United States, amongst communities of African
Americans. In turn, considerations of hoodoo or conjure lead us to reflect on manifestations
of traditional African American folk spirituality that represent a fascinating and arresting
amalgamation of West African, European, and Native American spiritual traditions.
Reflections on these things will, in turn, lead perceptive audiences to all manner of histories
of slavery and abolition, even as audiences marvel at the formal and spatial dimensions and
luminosity of Howard’s astonishing bottle houses.
We have much to thank Mildred Howard for, particularly the ways in which so much of
her art focuses on such potent subject matter, rich with symbolism, enabling her to create
installations and other works of profound aesthetic and cultural significance.
Eddie Chambers
Associate Professor of Art in the Department of Art and Art History (African Diaspora),
University of Texas, Austin
23
Where poets use words and musicians use notes, I use objects and images in my work
to generate a music that is visual and tangible. These objects
function as mediums in both senses of the word—not only as
artistic materials, but also as intermediaries between the audience
and their history, surroundings and memories, both individual and
collective. Like the rhythm of poetry or the vibrations of music,
I would like my artwork to be accessible to anyone, regardless of
race, class, or language. There is a universal history —including an
ongoing cycle of displacement, migration and self-reinvention—
that impacts everyone on this planet, regardless of time or place.
The emphasis on issues of borders, territory, and identity in my
work ultimately serves to direct attention toward the absurdity
of our divisions. Beyond race or gender, age or wealth, it is crucial
to preserve that which unites us: our shared struggles, our fragile
environment, our common humanity.
— Mildred Howard
24
Where poets use words and musicians use notes, I use objects and images in my work
to generate a music that is visual and tangible. These objects
function as mediums in both senses of the word—not only as
artistic materials, but also as intermediaries between the audience
and their history, surroundings and memories, both individual and
collective. Like the rhythm of poetry or the vibrations of music,
I would like my artwork to be accessible to anyone, regardless of
race, class, or language. There is a universal history —including an
ongoing cycle of displacement, migration and self-reinvention—
that impacts everyone on this planet, regardless of time or place.
The emphasis on issues of borders, territory, and identity in my
work ultimately serves to direct attention toward the absurdity
of our divisions. Beyond race or gender, age or wealth, it is crucial
to preserve that which unites us: our shared struggles, our fragile
environment, our common humanity.
— Mildred Howard
25
26
Plates
27
HIGH HEELS TURNING HEADS, 2007 [Fig. 8]
BROWN LEGS, 2001 [Fig. 9]
28
29
LAILA ALI, 2010 [Fig. 10]
30
CAGED BIRD SONG, SCREAM, SHOUT I, 2001 [Fig. 11]
31
32
MÉRET, 2007 [Fig. 12]
33
34
A DIFFERENT STORY, 2012 [Fig. 13]
35
THERE IS NOTHING THAT DOES NOT EXIST, 2010 [Fig. 14]
36
37
YOU ARE HERE, WE ARE HERE, 2010-2014 [Fig. 15]
38
39
DISHING IT OUT, 2010 [Fig. 16]
40
FOREVER GREEN, 2010 [Fig. 17]
41
ON THE REBOUND, 2010 [Fig. 18]
42
43
ISLAND PEOPLE ON BLUE MOUNTAIN, I, 2012 [Fig. 19]
44
ISLAND PEOPLE ON BLUE MOUNTAIN, XVIII, 2012 [Fig. 20]
45
THE OTHER SIDE OF THE COIN, V, 2014 [Fig. 21]
46
MILLENNIALS & XYZ, #V, 2014 [Fig. 22]
47
MILLENNIALS & XYZ, #II, 2014 [Fig. 23]
48
MILLENNIALS & XYZ, #VI, 2014 [Fig. 24]
49
1. Rev. Willie T, 1984Mixed Media on wood68 x 29 inchesCourtesy of Jennifer NorlandPhoto by Mildred Howard
2. Memory Garden, I, 1989Amber bottles, painted wood, and glue27 x 28 x 31 inchesCourtesy of the ArtistPhoto by Gallery Paule Anglim
3. Faith, Hope, and Charity, 1997Mixed Media triptych29 x 18 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
4. A Salute to Sojourner, 2001Mixed Media assemblage23 x 12 x 12 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
5. Caged Bird Song, Scream, Shout I, 2001Mixed Media assemblage74 x 48 x 32 inchesCourtesy of Terry GardnerPhoto by Gallery Paule Anglim
6. Brown Legs, 2001Mixed Media assemblage47 x 24 x 10 inchesCourtesy of Tia StollerPhoto by Gallery Paule Anglim
7. Skillet to the Frying Pan: Sitting Black, 2001Iron skillet, wooden stool, and mirror61 x 12 x 12 inchesCourtesy of Bruce Wilcox Photo by Kija Lucas
8. High Heels Turning Heads, 2007Bronze, wood, acrylic, heal, glue7 x 15.75 x 9 inchesCourtesy of Margy BoydPhoto by Gallery Paule Anglim
9. Méret, 2007Mixed Media assemblage7 x 22 x 24 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
10. History of the United States with a Few Missing Parts, Volume I and II, 2007Mixed Media assemblage36 x 24 x 12 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
11. Cartography del Cuerpo, II, 2007Mixed Media print with buttons, edition of 539.5 x 30 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Donald Farnsworth
12. Cartography del Cuerpo, III, 2007Mixed Media print with buttons, edition of 539.5 x 30 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Donald Farnsworth
13. Laila Ali, 2010Mixed Media assemblage56 x 22 x 14 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
14. There is Nothing That Does Not Exist, 2010Mixed Media assemblage35.5 x 72 x 6 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
15. You Are Here, We Are Here, 2010-2014Gilded frame, mirror, circa 1905 globe, pedestal, text installation96 x 96 x 10 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
16. Perched, 2010Mixed Media assemblage56 x 19 x 10.5 inchesCourtesy of the Artist and Gallery Paule AnglimPhoto by Gallery Paule Anglim
17. Dishing It Out, 2010Mixed Media assemblage16 x 21 x 13 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
18. Forever Green, 2010Mixed Media assemblage21 x 30 x 30 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
Mildred Howard: Collective Memory . . . . . . . . . . . Catalogue of the Exhibition
1 2 3 11 12
50
19. On the Rebound, 2010Mixed Media assemblage22 x 14 x 17 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
20. Parenthetically Speaking, It’s Only a Figure of Speech, III, 2011/2014Installation--hand blown glass-oversized punctuation marks, and a poem, At the End, by Quincy Troupe Dimensions varyCourtesy of the Artist & Gallery Paule Anglim, Pilchuck Glass School, Stanwood, WA and Museum of Glass, Tacoma, WAPhoto by Museum of Glass, Tacoma, WA
21. A Different Story, 2012Clear glass bottles and Mahogany frame25 x 39 x 28 inchesCourtesy of the Artist & Gallery Paule AnglimPhoto by Gallery Paule Anglim
22. Switchin’ in the Kitchen, 2013 Mixed Media and bronze triptychDimensions of triptych varyCourtesy of the ArtistPhoto by Raymond Holbert
23. Island People on Blue Mountain, I, 2012Chine collé with pochoir and sliver leaf21 x 15.75 inchesCourtesy of Steven Thomas & Patricia CurtanPhoto by Bud Shark
24. Island People on Blue Mountain, V, 2012Chine collé with pochoir 21 x 15.75 inchesCourtesy of Sharks InkPhoto by Bud Shark
25. Island People on Blue Mountain, IX, 2012Chine collé with pochoir, copper leaf, and collage21 x 15.75 inchesCourtesy of Sharks InkPhoto by Bud Shark
26. Island People on Blue Mountain, XI, 2012Chine collé with pochoir, copper leaf, and collage21 x 15.75 inchesCourtesy of the ArtistPhoto by Bud Shark
27. Island People on Blue Mountain, XVIII, 2012Chine collé with pochoir and gold leaf21 x 15.75 inchesCourtesy of the ArtistPhoto by Bud Shark
28. The Other Side of the Coin, II, 2014The Other Side of the Coin series, Variation 2, 2014 (framed in black)Digital print on handmade Awagami paper: 29.5 x 21.625 inchesunique (from a varied edition of 10)Printed/published at Magnolia EditionsPrinter Tallulah TerryllCourtesy of the ArtistPhoto by Donald Farnsworth
29. The Other Side of the Coin, V, 2014The Other Side of the Coin series, Variation 2, 2014 (framed in black)Digital print on handmade Awagami paper: 29.5 x 21.625 inchesunique (from a varied edition of 10)Printed/published at Magnolia Editions Printer Tallulah TerryllCourtesy of the ArtistPhoto by Donald Farnsworth
30. Millennials & XYZ, #II, 2014Chine collé21 x 15.75 inchesCourtesy of Sharks InkPhoto by Bud Shark
31. Millennials & XYZ, #V, 2014Chine collé21 x 15.75 inchesCourtesy of Sharks InkPhoto by Bud Shark
32. Millennials & XYZ, #VI, 2014Chine collé21 x 15.75 inchesCourtesy of Sharks InkPhoto by Bud Shark
33. Millennials & XYZ, #XIII, 2014Chine collé21 x 15.75 inchesCourtesy of the ArtistPhoto by Bud Shark
Mildred Howard: Collective Memory . . . . . . . . . . . Catalogue of the Exhibition
22 24 25 26 33
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Mildred Howard BioBerkeley-based artist, activist, teacher, Mildred Howard has conducted programs and exhibitions
internationally in locales ranging from England to Latin America, Egypt, and Morocco. Her highly
visible public art can be seen throughout the greater San Francisco Bay Area and beyond. Her
numerous awards include an Anonymous Was a Woman Fellowship; the Joan Mitchell Fellowship;
the Reader’s Digest Traveling Fellowship to Oaxaca, Mexico; two Rockefeller Artists Fellowships to
Bellagio, Italy; and an NEA Grant in Sculpture. Howard’s artwork is included in collections of the de
Young Museum; Oakland Museum of California; San Jose Museum of Art; Wadsworth Atheneum
Hartford, Connecticut; Museum of Glass, Tacoma, WA; Museum of Contemporary Art, San Diego,
CA; Washington State Arts Commission; United States Embassy, Morocco and Gabon, and the San
Francisco Arts Commission.
In 2011, the City of Berkeley proclaimed March 29th “Mildred Howard Day.” In 2012, Howard was
inducted into the Alameda County Hall of Fame and received San Francisco’s prestigious Silver SPUR
Award. Howard continues to work and exhibit internationally. In 2013, her sculpture Parenthetically
Speaking appeared at the Arsenal Venezia in Venice, as part of the Arte Laguna Prize. She is
represented in San Francisco by Gallery Paule Anglim.
solo exhibitions since 2000 2015 Gallery Paule Anglim, San Francisco, CA
2014 Fresno Art Museum Council of 100, Distinguished Woman Artist Award Exhibition, Fresno, CA
Sculpture Garden, Xavier University, New Orleans, LA
2013 Gallery Paule Anglim, San Francisco, CA
2011-12 Clear Story, Palo Alto Art Center, Palo Alto, CA
Parenthetically Speaking, It’s Only a Figure of Speech, International Museum of Glass, Tacoma, WA
2010 New Work, Gallery Paule Anglim San Francisco, CA
2008 To Honor Teaching, Solano Community College, Fairfield, CA
Nielsen Gallery, Boston, MA
2007 New Works 2007, Gallery Paule Anglim, San Francisco, CA
2006 In the Line of Fire/Crossings, Texas State University, San Marcos, TX
Nielsen Gallery, Boston, MA
Santa Rosa Junior College, Santa Rosa, CA
2004 Crossings, Townhouse Gallery, Cairo, Egypt
Private Eye, Public Me, Gallery Paule Anglim, San Francisco, CA
2003 Switchin’ in the Kitchen, Margaret Porter Troupe Projects, Harlem Arts Salon, New York, NY
Three Shades of Blue, San Francisco, CA
Walcot Chapel, Bath, England
2002 Do We Have the Right to Remain Silent, Nielsen Gallery, Boston, MA
2001 Mildred Howard, installations, constructions, assemblages. Gallery Paule Anglim, San Francisco, CA
2000 Open Sentence, installation and constructions. Louis Stern Fine Arts, West Hollywood, CA
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commissions/public art2014-17 Alameda/Contra Costa Transit District, Artistic Enhancement for the East Bay Bus
Rapid Transit Stations
2010-14 San Francisco General Hospital, Acute Care Unit, the San Francisco Arts Commission, San Francisco, CA
Successor to Agency to the San Francisco Redevelopment Agency Office of Community Investment and Infrastructure
2011 Public Art, Sacramento International Airport, Sacramento Metropolitan Arts Commission, Sacramento, CA
2010 Public Art, Robbie Waters Pocket-Greenhaven Library, Sacramento Public Library, Sacramento Metropolitan Arts Commission, Sacramento, CA
2008 125 Mason Street Family Housing Project in conjunction with the Glide Foundation, GEDC and Millennium Partners, San Francisco, CA
The Next Key Project, Homeward Bound, of Marin Novato, CA
2007 Project Artist in conjunction with DCE Planning and The City of Oakland, Artists working
Signage & Lighting, Port of Oakland, Mildred Howard/Walter Hood & Hood Design
2004-05 Project Yes!, Alameda County Arts Commission in conjunction with Alameda County Social Services Agency and Castlemont High School, Oakland, CA. Collaboration with Johanna Poethig
2002-03 Black Bird in a Red Sky, Museum of Glass, Tacoma WA. Installation, Red glass house and 700 resin apples floating in a reflection pool.
Fillmore Street Bridge Project, twenty glass panels with text. San Francisco Arts Commission in conjunction with the San Francisco City and County Redevelopment Agency, San Francisco, CA.
2000-01 Locks and Keys for Harry Bridges, bollards, benches, lighting, and trellises, Design Task #1, Mildred Howard.
Yerba Buena Garden Central Block 1 Artist and Architect Consortium (Mildred Howard, James Turrell, Walter Hood & Hood Design, Cheryl Barton & Associates) for Millennium Partners/WGB Ventures, Inc. & the San Francisco City and County Redevelopment Agency, San Francisco, CA
2000 Salty Peanuts, permanent installation. San Francisco International Airport Expansion & the San Francisco Arts Commission, San Francisco, CA
grants & awards since 2000 2014 Council of 100 Distinguished Woman Artist Award, Fresno Art Museum, Fresno, CA
2012 Silver SPUR 2012 Award
Alameda County Hall of Fame, Inductee
2011 City of Berkeley proclaimed March 29, 2011 as Mildred Howard Day
Artist in Residence, Museum of Glass, Tacoma, WA
2010 Artist in Residence, Pilchuck Glass School, Stanwood, WA
The Rockefeller Foundation Bellagio Center, Bellagio, Italy
2007 Creating a Lasting Legacy Project, Joan Mitchell Foundation
Rockefeller Study & Conference Center, Bellagio, Italy
2004-05 Joan Mitchell Award
2003 Sculpture Fellowship, California Arts Council, Sacramento, CA
Emma O’Brien Distinguished Visiting Professor, Scripps College, Claremont, CA
2001 Flintridge Visual Artist Award, Pasadena, CA
Certificate of Congressional Recognition, Congresswoman Barbara Lee and the African American Museum & Library at Oakland
2000 Fellowship, Anonymous Was A Woman Foundation
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collectionsAmerican Embassy, Libreville, Gabon
California State Bldg., San Francisco, CA
Crocker Museum of Art, Sacramento, CA
CU Art Museum, University of Colorado, Boulder, CA
Elihu M. Harris State Office Bldg., Oakland, CA
Escuela Nacional de Artes Plásticas de Managua Plasticas, Managua, Nicaragua,
Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA
Hampton University, Hampton, VA
Highland Hospital, Oakland, CA
Kaiser Permanente Corporation, Oakland, CA
Laguna Honda Hospital and Rehabilitation Center, San Francisco, CA
Miami-Dade Public Library System Art Services and Exhibitions Department, Miami, FL
Museum of Contemporary Art, San Diego, CA
Museum of Fine Arts, St. Petersburg, FL
Museum of Glass, Tacoma, WA
Oakland Museum of California, Oakland, CA
Palmer Museum of Art, University Park, PA
Sacramento International Airport, Sacramento, CA
Sacramento Public Library, Sacramento, CA
San Francisco Arts Commission
San Francisco International Airport
San Francisco Museum of Modern Art
San Jose Museum of Art, San Jose, CA
Rene and Veronica di Rosa Foundation, Napa, CA
Three Guinea Fund, San Francisco, CA
Wadsworth Atheneum, Hartford, CT
Washington State Arts Commission, Olympia, WA
Numerous Private Collections
gallery representationGallery Paule Anglim, San Francisco, CA
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Curator’s AcknowledgementMildred Howard: Collective Memory and the online catalogue are the successful result of the efforts
of many. As curator of the exhibition, thank you to the Fresno Art Museum Council of 100 for their
selection of Ms. Howard as their twenty-sixth Distinguished Woman Artist honoree and to my
colleagues Amalia Mesa-Bains and Eddie Chambers for sharing Ms. Howard’s and my enthusiasm for
the project and for their contributions to the exhibition catalogue.
Opportunities like this renew an artist’s faith in a very competitive art world where long-term
recognition, especially for one’s life in art, is not guaranteed. I am grateful to Pamela Akin, Board
President of the Council of 100, for her support and to Kristina Hornback, Associate Curator at the
Fresno Art Museum, for her assistance in navigating the curatorial process. It has been a pleasure
to work with Kristi Carlson, the designer of this beautiful online catalogue. We thank her for her
patience throughout all of our changes.
We are especially appreciative to Paule Anglim and her staff at Gallery Paule Anglim in San Francisco
for her ongoing support for Mildred Howard’s artwork and her guidance throughout this exhibition
process. We also wish to acknowledge and thank the collectors of Ms. Howard’s work for lending
to this exhibition. Poet Quincy Troupe graciously granted permission to print his poem “At the End”
in the gallery. Appreciation is extended to all who assisted directly or indirectly to this exhibition
and catalogue and for bringing Ms. Howard’s work to Fresno and the broader San Joaquin Valley
community.
Lizzetta LeFalle-Collins, Ph.D.
Guest Curator
Principal, LeFalle/Collins Projects
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Exhibition Lenders Paule Anglim and Gallery Paule Anglim, San Francisco, CA
Margy Boyd, San Francisco, CA
Magnolia Editions, Oakland, CA
Don and Era Farnsworth, Oakland, CA
Terry Gardner, Oakland, CA
Mildred Howard, Berkeley, CA
Jennifer Norland, El Cerrito, CA
Bud & Barbara Shark, Lyons, CO
Sharks Ink, Lyons, CO
Tia Stoller, Berkeley, CA
Nicholas Stone, Berkeley, CA
Tallulah Terryll, Oakland, CA
Steven Thomas & Patricia Curtan, Napa, CA
Bruce Wilcox, Berkeley, CA
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Fresno Art Museum Council of 100 Council of 100 Executive Board: Pamela Akin, President, Ellen Hirth, Events Coordinator, Laura Meyer, Secretary, Maxine Olson, Publicity, Zandra Ogata, Treasurer, Anne Scheid, Selection Committee Chair, Joan K. Sharma, Susana Sosa, Carol Tikijian, Mary Maughelli
Gold Philanthropists: Ann Dellavalle, Jane Fischer, Coke and James Hallowell,Ellen Hirth, John and Pam Lamborn, Elaine Lynn, Zandra Ogata
Silver Patrons: Diane Hanson-Barnes, Cleo Bauer-Papagni, Roberta Beam, Anne Betancourt, Jane M. Cleave, David and Sarah Dent, Jacqueline Doumanian, Virginia Farquhar, Anne Woolf Franson, Christy V. Hicks, Karen Johnston, Joan Lipton, Richard and Ute Lowell, Claudia Mader, Barbara Marsella, Mary Maughelli, Nancy Mengshol, Laura Meyer and David Lorey, Karen Morais, Miriam Mott-Smith, Anne Scheid
Bronze Supporters: Mary Abaci, Joyce Aiken, Dr. Heather B. Anderson, Bonnie Bedford-White, Linda Cano, Lylia Carr, Cala Carter, Jackie Doumanian, Marjorie S. Erbes, Pamela Flores, Patti Handley, Debbie Horton, Diane R. Howerton, Bobbi Jensen-McKee, Joyce Kierejczyk, Elizabeth Knapp, Pat Kuhl, Ann M. Lewis, Sue McCline, Trude McDermott, Bernice Miessner, Mrs. James A. Miles, Lori Norman, Maxine Olson, Sylvia J. Owens, Jerrie Peters, Leni V. Reeves, Tamela Ryatt, Charlotte Schell, Joan K. Sharma, Bobbie Smetherman, Susana L. Sosa, Pearl D. Supersad, Carol Tikijian, Barbara Van Arnam, Kathy Wosika
Fresno Art Museum Board of Trustees: Joe Sciarrone, President, Jennifer Elizondo Speck, Vice-President, Karen Morais, Treasurer, Terri Meyers-Stout, Secretary, Carolyn Caton, Women’s Auxiliary President, Brian Angus, Larry Balakian, Bob Bullwinkel, Cala Carter, Anne Franson, James Hallowell, Brett Hedrick, Amanda Hopkins, Peggy Jelmini, Sloan Johnson, Marianne Collins King, Sue McCline, John Mengshol, Gerald M. Palladino, Michael Parola, Peggy Stefanopoulos, Cindy Wathen
Trustee Emeriti: George Blair, Jane M. Cleave, Kaye Bonner Cummings, Don Gray, Joan Niboli Gray, Mary LaFollette, Roxie Moradian, Anita M. Shanahan, Elizabeth Bonner (In Memory), Doris Dillon (In Memory), Larry Early (In Memory), Joy Erro (In Memory), Kenneth Stratton (In Memory)
Honorary Trustees: Elisabeth Dean, Adam Mekler, Louise Salter Sumpf (In Memory)
Fresno Art Museum Staff: Kristina Hornback, Associate Curator, Debbie Horton, Office Manager/Facilities Manager, Susan Yost-Filgate, Education Coordinator, Craig Hamilton Arnold, Membership Coordinator, Christina Rea, Audience Engagement Coordinator, Tasha Mendoza, Facility Rental Coordinator, Bette Peralta, Receptionist, Eliana Saucedo, Leslie Batty, Scott Macaulay, Jamie Michaelides, Jaydee Pirtle, Suzanne Calonje, Art Instructors, Frank Alvarado, Sarkis Kglyan, Irene Alvarado, Cesar Soto, Maintenance/Security
Major funding for this catalogue provided by The Fresno Art Museum Council of 100
Published byThe Fresno Art Museum2233 North First StreetFresno, California 93703
Catalogue Design: Kristi CarlsonPhotography: Gallery Paule Anglim Donald FarnsworthBud SharkKija LucasRaymond HolbertMildred HowardOnline Digital Publication
Mildred Howard: Collective Memory
Curated by Lizzetta LeFalle-Collins
Includes foreword, essay, afterword, biography, color plates
ISBN-10: 0-932325-98-XISBN-13: 978-0-932325-98-3
California Artist - 20th Century Artist - 20th Century Contemporary - Mixed Media Assemblage - Installation - Works on Paper - Exhibition Catalogue
Copyright 2014 Fresno Art Museum. All rights reserved. No part of the contents of this book may be reproduced without the written permission of the publishers. The copyright of works of art reproduced in this book are retained by the artist, her heirs, successors, and assignees.
“At the End” copyright by Quincy Troupe, Transcircularities, New + Selected Poems; Coffee House Press 2002.
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